I can’t picture myself starting out aiming to do anything or having much of an agenda.I think in writing a poem, I’m making some tonal adjustments, and it took me a long time to allow anything like fun into my poetry.
BILLY COLLINSParticularly when I thought of myself as a Wallace Stevens acolyte, I wrote very difficult poetry and I was really guilty of not knowing what I was talking about. I was going for a kind of clever verbal effect. I was trying to sound linguistically or verbally interesting.
More Billy Collins Quotes
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The really authentic thing about humor is that anyone can pretend to be serious. Anyone who’s ever had a job – in fact, we’re pretending to be serious now, more or less.
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The literary world is so full of pretension, and there’s such an enormous gap between how seriously poets take themselves and how widely they’re ignored by everybody else.
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(Again I’m trying to give you a finite version of this career.) And then I came under the sway of Wallace Stevens when I was in college and graduate school, and basically set as a life goal the ambition of writing third-rate Wallace Stevens.
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When you get a poem [in a public place], it happens to you so suddenly that you don’t have time to deploy your anti-poetry deflector shields that were installed in high school.
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This love for everyday things, part natural from the wide eye of Infancy, part a literary calculation
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You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.
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Humor, for me, is really a gate of departure. Its a way of enticing a reader into a poem so that less funny things can take place later. It really is not an end in itself, but a means to an end.
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I’m very conscious of the fact that every line should have a cadence to it. It should contribute to the progress of the poem. And that the ending of the line is a way of turning the reader’s attention back into the interior of the poem.
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Listeners are kind of ambushed… if a poem just happens to be said when they’re listening to the radio. The listener doesn’t have time to deploy what I call their ‘poetry deflector shields’ that were installed in high school – there’s little time to resist the poem.
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A sentence starts out like a lone traveler heading into a blizzard at midnight, tilting into the wind, one arm shielding his face, the tails of his thin coat flapping behind him.
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The poem is not, as someone put it, deflective of entry. But the real question is, ‘What happens to the reader once he or she gets inside the poem?’
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But I think you could also put it a different way. You, quote, find your voice, unquote, when you are able to invent this one character who resembles you, obviously, and probably is more like you than anyone else on earth, but is not the equivalent to you.
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And the reason I am writing this on the back of a manila envelope now that they have left the train together is to tell you that when she turned to lift the large, delicate cello onto the overhead rack.
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In the process of simplifying oneself, one often discovers the thing called voice.
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I think more influential than Emily Dickinson or Coleridge or Wordsworth on my imagination were Warner Brothers, Merrie Melodies and Looney Tunes cartoons.
BILLY COLLINS